Kerala has a rich variety of folk dances.
They are highly developed and reflect
the temperaments and moods of the localities
in music and custume. Nature silently
and unobstrusively has moulded these
dances just as the lives of the people
who dance them.

Religious
colouring is seen in almost all
of these folk dances, even in
those performed in connection
with harvests, sowing of seeds,
festivals etc., so much so that
their secular nature is always
at doubt.There
is difficulty in classifying these
dances as social, religious and
martial. Many of these dances
are performed by men alone, some
exclusively by women. There are
also dances in which men and women
perform together. Most of the
folk dances are performed to the
accompaniment of songs which are
sung by the dancers themselves
or occasionally by a group of
musicians. Some dances are performed
to the accompaniment of musical
instruments only. In several dances
the performers form a circle and
clap as they dance. Sometimes,
instead of clapping they strike
small sticks which they hold in
their hands. The customs and ornaments
are peculiar to the places to
which they belong. The eloquent,
effortless ease with which the
dances are executed and the overwhelming
buoyancy of spirit are wonderful.
In these folk dances there is
no difference between the performers
and the audience. Almost all of
these folk dances are simple but
beneath this simplicity is a profundity
of conception and a directness
of expression which are of a high
artistic order.

There are more than fifty well-known
folk dances in Kerala. Of them
the Kaliyattom, Mudiettu, Kolam
Thullal, Kolkli, Poorakkali, Velakali,
Kamapadavukali, Kanniyarkali,
Parichmuttukali, Thappukali, Kuravarkali
and Thiruvathirakali
are the most popular.

SANGHA
KALI

This
is also known as Sastrakali,
Chathirakali or Vatrakali.
Essentially a socio-religious
dance which was a very favourite
and popular pastime of Namboodiris,
it was performed as a votive offering.
The origin of Sanghakali may
be traced to the numerous gymnasia
(known as Kalaris) in ancient
Kerala where physical exercises
and military training with special
stress on physical feats and swordsmanship
were given.The last phase of the
dance is called Kudameduppu. It
is martial in character and actually
in the form of combat exercise
displaying the skill in swordsmanship
and the mastery of techniques
in the use of other weapons.

KAIKOTTI
KALI / THIRUVATHIRAKALI

Kaikottikali,
also known as Thiruvathirakali,
is a very popular, graceful and
symmetric group-dance of the women
of Kerala often performed during
festive seasons like Thiruvathira
and Onam. It is a simple
and gentle dance with the lasya
element predominating, even though
the thandava part is also
brought in occasionally, when
men also participate as seen in
some parts of the Malabar area.
Typically dressed in Kerala style
with mundu and neriyathu
and the hairbun bedecked with
jasmine garlands the women dance
in gay abandon, singing melodious
Thiruvathira songs which
are well-reputed for their literary
flourish. One of the performers
sing the first line of a song
while the rest repeat it in chorus,
clapping their hands in unison.
Moving in a circle, clockwise
and at times anticlockwise, at
every step they gracefully bend
sideways, the arms coming together
in beautiful gestures, upwards
and downwards and to either side,
in order to clap.

MUDIYETTU

This
is ritualistic dance springing
form the Bhagavathy cult.
The theme depicts the glory and
triumph of Bhagavathy over
the demon Darika. The characters
are all heavily made up with gorgeous
costumes, intricate and elaborate
and with conventional facial paintings,
tall head-gears etc. Attired and
adorned exotically with a unique
weirdness and hideousness, the
characters seem quite supernatural.

KAKKARISSI
KALI

Prevalent
among the Kuravas of Thiruvananthapuram
district, this group dance is
very vociferous because of the
shoutings of the participants
and also the wild beatings of
primitive drums like para,
veekkan chenda etc.

DAPPU
KALI

A
group-dance of the Moplahs
of Malabar. The performers
from two rows of ten of twenty.
They beat on the dappu
which each dancer holds in his
left hand and dance with exquisitely
symmetrical swayings of the body
and astonishing co-ordination
of rhythm steps, flexion of body
and timing of dappu.

KOLKKALI

A
mixed dance in which both men
and women participate. The performers
move in a circle, striking small
sticks and keeping rhythm with
special steps. The circle expands
and contracts as the dance progress.
The accompanying music gradually
rises in pitch and the dance reaches
its climax.

POYKKULAU
KALI

Also
known as marakkalattom,
this is a still-dance performed
in connection with temple festivals.
Theme songs are sung in which
the fight of the goddess Durga
on stills against the Asuras
who attacked her in the guise
of snakes, scorpions etc., are
portrayed. The rhythm is kept
by percussion instruments.

KOTHAMOORI

This
is a dance prevalent among the
Malavans of North Kerala.
Models of oxen are made up with
leaves and twigs, and carried
on shoulders behind which numerous
dancers with crude facial marks
and skirts made of tender fronds
of coconut, dance in exotic jubiliance
to the accompaniment of instruments
like chenda and kinni
( a bronze plate ).

POORAKKALI

A
folk dance prevalent among the
Thiyyas of Malabar, usually
perfromed in Bhagavathy
temples as a ritual offering during
the month of Meenam (March
- April). Poorakkali requires
specially trained and highly experienced
dancers quite thorough with all
the techniques and feats of Kalaripayattu,
a system of physical exercise
formerly in vogue in Kerala. Standing
round the traditional lamp, the
performers, dance in eighteen
different stages and rhythm, each
phase being called a Niram.

PANNA

This
is ritual dance propitiating the
goddess Kali. Small temporary
shrines are constructed and variously
decorated. A branch of the Pala
tree is taken round the temple
by about 10 to 12 persons who
dance all the way to the rhythm
set by percussion instruments
and to the vociferous shouting
and chanting of the accompanying
crowd.

SARPAM
THULLAL

Many
ancient family houses in Kerala
have special snake shrines called
Kavu. Sarpamthullal
is usually performed in the courtyard
of houses having snake shrines.
This is a votive offering for
family wealth and happiness. The
dance is performed by members
of a community.

AYYAPPAN
VILAKKU

Numerous
miniature temples are constructed
out of tender coconut frond and
plantain leaf-stalks. Then songs
are sung on the legendary right
between Ayyappan and Vavar. In
tune with the various rhymes and
thythms of this devotional song,
two dancers in the costume and
make up of Ayyappan and Vavar
perform, striking with swords
and defending with coconut fronds.

PARICHAMUTTU
KALI

This
is martial folk-dance which had
its origin during the day when
kalaripayattu, the famous
physical exercise of swordplay
and defence, was in vogue in Kerala.
The performers dance with swords
and shields in their hands, following
the movements of sword fight,
leaping forward, stepping back
and moving round, all the time
striking with the swords and defending
with shields.

KAAVADIYATTOM

Mainly
performed as a votive offering
in temples where the presiding
deity is Lord Subrah mania. Here
a number of dancers dressed in
yellow or rose clothes and smeared
all over the body with ashes and
each with an ornate kavadi
on the shoulder, dance in a row
to the rhythmic beatings of instruments
like udukku, chenda, etc.,
Sometimes nagaswaram is
also used.

BHADRAKALI
THULLAL

This
is a devotional offering of Pulayas
for the deity Bhadrakali.
Special pandals are constructed
in the fields after the harvest
and the dances are performed.
They are quite drawn-out and have
numerous phases.

VELA
KALI

A
martial dance of the Nair community.
This depicts ancient warfare in
Kerala in all its ferocity and
valour. Armed with shining swords
and shields and dressed in exotic
costumes they dance with vigour
and force. The dance ends with
the victory of good evil.

PURATTU

The
wood Purathu means limitation
or mimicry. It is a humorous folk-play
which many characters like Chettiar,
Chettichi, Kuravan and Kurathi
are cleverly imitated to evoke
laughter.

KAMPADAVU
KALI

A
war dance which is the legacy
of an ancient past. The dance
is performed in circles and the
dancers utter wild war cries as
it gathers momentum. The group
formations are many varied and
the power and variety of rhythm
exquisite.

AMMANATTOM

Ammana
is a hollow metallic ball which
contains numerous metallic pieces
inside. Women perform the ammanattom
dance, using four to twenty-four
ammanas which are thrown
up and caught deft missing none.

THOOKKAM

After
worshipping the deity the performers
gets over a one wheeled platform
over which is the pillar like
utholakam. There is a hook
at one end of the utholakam to
which is attached the backside
skin of the dancer. This end is
then raised up. Hooked to the
utholakam, the dancer is thus
suspend in the air almost horizontally
in which posture he executes certain
physical feats and dance movements
and the whole platform is taken
round the temple deity thrice.

AIVAR
KALI

Aivar
Kali
literally means the play of the
five sets. This is performed by
members of Asari, Moosari,
Kuravan, Thattan, and Kallasari
communities. It is often staged
in connection with temple festivals
like Velela, Thalapoli
etc.

PADAYANI

Padayani
or padeni in colloquial
speech, is one of the most colourful
and spectacular folk arts associated
with the festivals of certain
temples in southern Kerala (Alappuzha,
Kollam, Pathanamthitta and Kottayam
districts). The word padayani
literally means military formations
or rows of army, but in this folk
art we have mainly a series of
divine and semi-divine impersonations
wearing huge masks or Kolams
of different shapes, colours and
designs painted on the stalks
of arecanut fronds. The most important
of the kolams usually presented
in a padayani performance are
Bhairavi (Kali), Kolam
(god of death), Yakshi
(fairy), Pakshi (bird)
etc.

THIYYATTU

A
devotional offering performed
in Bhadrakali temples. A set of
performers known as Thiyyattunnis
alone are entitles to perform
it. The theme is usually the killing
of Darika by Bhadrakali. The Unnis
first draw the picture of Bhadrakali
(called kalam) on the floor,
with a five different types of
colour powers. Then the dancer
in the costume and make-up of
Bhagavathy with special head gears,
pleated skirts and painted face
dances before the Kalam,
to the accompaniment of devotional
songs.

BHOOTHAM
THULLAL

The
concept is that the devil-aides
(Bhoothams) of Lord Shiva
are coming to see and enjoy the
temple festival. The make-up of
the Bhoothams consists
of peculiar costumes, at once
colourful and captivating. Large
headgears, projecting rounded
eyeballs, high-ridged noses, protruding
tongue, flowing black hair behind
the pleated skirts and overcoats
all conspire to make the dancers
appear completely supernatural.

KOLAM
THULLAL

This
is a ritual offering usually performed
to get rid of the troubles caused
by evil-spirits. Here a number
of characters, with hideous make-up
and flat big head-gears dance
to the accompaniment of primitive
percussion instruments.

THEYYAM

Theyyam,
otherwise known as Kaliyattom,
is an ancient socio religious
ceremony performed in Kerala since
very remote times. As the word
Kaliyattom denotes, this
is a sacred dance performance
for Kali. Kaliyattom
is sometimes called Theyyattom
because every thera or village
was duly bound to perform it.
These names show that Kaliyattoms
were special festivals of religious
and social importance.

In
ancient times every village of
Kerala has its own common shrine
called Kavu and it was imperative
to have Kaliyattom performed
in front of it. As the word Kali
has also the meaning of "Safety"
in Malayalam, Kaliyattom may
have the significance of a sacred
dance for social or family safety.

The
Dravidians were worshippers of
the ferocious goddess called Kottavai.
To propitiate this goddess a peculiar
dance was performed. It would
not be mere conjecture to say
that the old Kottavai dance performance
was the actual foundation on which
Kaliyattom took roots later on.
As Kerala was primarily a land
of people with Sakthi (Bhagavathi)
worshippers, the Kaliyattom became
very much a part and parcel of
the social structure.

Kali
worhip made its stronghold especially
in the northern parts of Kerala,
known as the Kolathirinad, the
ancient kingdom of Kolathiri (Chirakkal
Raja). Therefore it was Kolathunad
(North Malabar) that Kaliyattom
flourished more than in any other
part of Kerala, In this way, a
wide range of Kaliyattom
nurtured and developed. With the
passage of time along with different
aspects of Kali, various other
Kolams of heroes and heroines
were defined and special Kolams
were attributed to them. Thus
we find Sankaracharya as Pottan
Daivam, Thacholi Othenan as
Ponniatu Pataveeran, Katangot
Makka as Makkapottu and
the great commander of the Kolathiri
militia as Vayanattukulavan.

In
short, in Kaliyattom, permanent
forms and special attributes are
given to Kolams and divine as
well as hero worship is substantially
and methodically carried out.

Each
manifestation in a Kaliyattom
is known as Kolam. Kolam
actually means "shape"
or form God, goddess, hero or
heroine have their own peculiar
and specific forms, and each form
has its own particular representative
aspect. To bring out that aspect
each Kolam has special features
in face painting which is a work
of difficult craftsmanship and
is a unique piece of art. Some
Kolams take eight to ten
hours time to paint the face according
to strict rules of tradition.
In the same way the crowns, head
dress, breast plates, arm ornaments,
bangles, garland and above all
the woollen or cotton garments
are all so elaborately furnished
and variously shaped that the
figure of a Kolam is something
to see and wonder. It is said
that the vivid and masterly ornamental
dressing of Kathakali has
originated from this.

KURATHIYATTOM

Kurathi
are a set of gypsies who go about
from place to place telling fortunes.
In this dance called Kurathiyattom,
two Kurathis first enter
dancing, in the guise of characters
representing the wives of Lord
Vishnu and Lord Shiva. Then they
stage a controversy through songs
over the exploits of their respective
husbands. The favourable point
in one's favour becomes the butt
of ridicule at the other's hands
and while one praises profusely
the other condemns sarcastically.

THUMPI
THULLAL

This
is a dance in which only women
participate. It is usually performed
in connection with the Onam
festival. All the girls are dressed
in immaculate Onakkodi
dress and ist round in a circle.
At the centre of the circle sits
the performer.

KUMMI

This
is women's dance prevalent in
Kerala. The dancers move in a
circle and the hand gestures singnify
reaping and harvesting. One of
the women leads the singing with
a favourite song while the rest
take up the refrain. Each performer
renders a new line in turn and
the dancing stops when all get
tired.

KADUVA
KALI

This
dance, also known as Pulikali,
is performed during the Moharam
season. Dancers realistically
made up as tigers with appropriate
costumes go about from house to
house, dancing vigorously to the
loud beating of instruments like
Udukku, Thakal, etc.

KANNIYAR
KALI

One
of the centuries old, but well-known
folk dance of Kerala, Kanniyarkali
(also known as Desathukali)
is a fast moving, militant dance
from attuned to rhythmic devotional
folk songs and asuravadyas.
It is said to be a ritual offering
in honour of the deity Bhagavathy.

PAKKANAR
ATTOM

This
art form is performed to drive
out evil spirits from hons. It
is believed that Pakkanar and
his wife visit the hayses.
They dance in tune with the beat
of different drums. Usually this
art form is performed during Onam
festival.

KUTHIYOTTAM

This
is in vogue in Thiruvananthapuram
District, performed mostly in
Devi temples. A performer, wearing
a crown, similar to the used by
the 'Ottanthulal artist,
and three other characters, with
three different facial make-ups,
dance rhythmically to the background
of percussion instruments. The
songs are in praise of Durga,
'Padapattu', and 'Kalaripattu'
and songs in praise of deities.
It is usual to have partitioners
of red silk at the performing
arena.

THIRAYATTOM

Thirayattom
is performed as part of festive
celebrations in Kavus in
Central Malabar. The word thira
means lustre and the Thirayattom
dance is said to cast radiacne
by vertue of his gorgeous array,
made all the more dazzling by
the blaze of torches, made of
clusters of dried coconut fronds.

OPPANA

Oppana
is an exquistic folk art form
performed traditionally among
the muslim community in Kerala.
The song and dance programme is
performed by females to entertain
the bride and by males to entertain
the bridegroom.

MARGAM
KALI

Margam
Kali is an art from popular among
the Syrian Christian community
of the eastwhile Travancore. This
consists of group dances and martial
arts like parichamuttu kali. The
theme of the songs revolves round
the life of St. Thomas.

AADI
VEDAN

Aadivedan
is an ancient folk art prevalent
in certain areas of Kannur district.
Aadi and Vedan represent parvathy
and siva. All the characters who
enact these two roles normally
belong to two different communities.
It is performed during day time.

ARJUNA
NRITHAM

Arujunanritham
is a popular dance form in Alleppy
and Kottayam districts. This is
performed by one or two persons
at night and the lighting is done
by the traditional lamp called
'Nilavilakku'. Arjunan
was proficient in dance among
the Pandavas and he is
supposed to have danced and sung
praising Bhadrakali. Since
the lower part of the garments
of the dance is made of peacock
feathers, the dance is also known
as "Mayilpeeli Thookkam"

KUMMATTI

Kummattikali
is a mask dance popular South
Malabar. The dancers wear brightly
painted wooden masks. During onam
season groups of dancers donning
masks and adorning themselves
with leaves and grass go from
house to house. The rhythm is
provided by vibrating the string
of a bow-like instrument called
onavillu.

KOTHAMOORIYATTAM

This
art forms is proformed in Kannur
District. The leader along with
the troupe go to each house, play
on Chenda and begins to
sing. Two characters with face
masks made out of the stalk of
coconut fronds and with yellow
tassels of Kuruthola
sing the refrain. Along with this
they go through an enactment of
comical gestures. There comedy
charactors are known as Paniyans.
Another character the representation
of bull, worn round his waist,
dances in peculiar style.

GARUDAN
THOOKAM

This
dance form is presented in some
temples where the installed deity
is Badrakali. Two or three dancers
in the garb of Gardua, dance of
the rhythm of percussion instruments.
In imitation of Garuda (the bird
king) the dangers preen the feathers
with their breaks, carry snakes
in the beak, dance with wings
spread in circles, in an ecstacy
of joy.

CHOOZHIKKALI

After
commencing the performance, in
a vacant lot, the performers go
from house to house and perform
this.The costume of Chozhi
consists of dried plantain leaves,
tied all over the body. And two
horns would be sticking out from
the forehead. Kalan and
Chitragupta wear black
clothes and masks of terrifying
aspect with fangs bared.

THALAMKALI
(THALIKAKKALI)

This
is an art form where physical
culture amount much. It is prevalent
culture amount much. It is prevalent
in Malappuram district. It is
said that this used to be popular
as a performance during the celebrations
of Thalikettu ( a ritual
in which the young girls who attain
puberty go through a mock marriage)The
performers stand in a circle and
sing to a rhythm. After that they
carry plates in both palms and
go through intricate twisting
and turning.

THIDAMBU
NRITHAM

This
is prevalent in Kannur District
and in some parts of Kozhikode
District, in North Kerala. Namboodiris
conduct the dance. Marars play
on percussion instruments. One
namboodiri to bear the Thidambu,
seven players on percussion instruments,
two persons to carry lamps, in
all ten persons are needed to
present this. The dance is performed
with the decorated effigy of the
Devi carried on the head. Foot
work is most important and this
is executed to the rhythm of the
drums.

THEYYANNAM

This
is a ritualistic art, performed
by the Pulaya and Kurava
communities. Theyyannam
is found in Mavelikara, Pandalam
and some places in Alappuzha District.When
man turned to cultivation, his
liking and respect for this began
to increase. Though he cultivates
different crops, he has a partiality
for paddy cultivation. This is
the theme of Theyyannam.

THEKKANUM
THEKKATHIYUM

Popular
in Palakkad and Malappuram Districts.
This is handled by the Panars.
Their daily profession is the
making of palm leaf umbrellas.Two
characters (one male and one female)
and two percussion instrumentalists
form a troupe. The characters
sing, exchange dialogues and perform
stylished movements, through well
defined steps.

THOLPAVAKOOTHU

This
is known as Pavakoothu
and Nizhalkoothu. Prevalent
in Palakkad and Ponnani Taluks.
This is handled, traditionally,
Pulavanmars. The pavakal,
or puppets are made of deer skin,
to represent characters in the
Ramayana epic. The puppets are
arranged behind a long curtain.

MAGACHUTTU

Popular
in Thiruvananthapuram and Chirayinkizhu
taluks and in Kilimanoor, Pazhayakunnummal
and Thattathumala regions.Form
among the eight performers, two
each, twin around each other like
serpents and rising up, battle
it out with sticks. The techniques
are repeated several times. Sandalwood
paste on the forehead, a red towel
round the head, red silk around
the waist and bells round the
ankles. These form the costume.
This is a combination of snake
workship and Kalaripayttu.

MALAYAN
KETTU

This
art form is in vogue all over
Kannur District. This is fully
ritualistic in scope.This is usually
performed for the sake of those
women who have miscarriages and
who are advised by the astrologers
to have this ritual.